You're a younger artist with an older audience. You're going to have to promote your shows locally for each venue. It's tricky, but if possible do some Guerrilla Marketing by showing up at these venues for other artists in the next couple of months. About 2 hours before each show announce on Instagram, FB, YT short, etc. "i'm going to see this artist here tonight...see you there..." This will generate excitement around you and the venue and the local artists who will, in turn, promote you. Use free social media to cross-promote this new network of artists and venues. Additionally, local news are always looking for segments to fill airtime...especially in the AM. You can promote your shows to each TV station and offer to do a song on air. This will definitely hit your market demographic.
This is a great idea, use a good quality camera (iPhone) pipe in the audio and sell it to the audience. Low upfront cost and possibly a great way to recover some costs. I agree it should be available for replay to allow for time zones. Could simply be a TH-cam members only stream?? Keep it simple.
Funnything is, I keep trying to get my band to do this. It's seemingly impossible, yet, the audio from rehearsals that have been posted, emailed, etc. have had bizarrely loving responses. So, you're more correct with a known youtube um rocker than you may know.
Can’t come see you (in the US) and honestly your music is not in my wheelhouse, but I like your channel, so here is my virtual ticket purchase. Music is best live, so thank you.
I'm worthless to you as far as help or suggestions, especially living in the USA, but I'm rooting for you! I hope it works out well for you and turns out to be all you hope for.
I run a small venue in the United States in the suburbs of Atlanta, and I sometimes work as an FOH engineer at other venues. I suggest reaching out and making customized videos and photographs for each venue. They don't have to be fancy, but they should include something specific for each town. For us, that means 10 to 20 extra tickets per concert. Also, send a CD to each venue, especially if they have non-music acts. We use upcoming performers as house music in the lobby before the plays and dance recitals we have. Toi! Toi! Toi!
I saw a UK band named Moke 20 years ago (maybe more). They opened for The Black Crowes at The State Theater in Detroit. Never heard of Moke but they were fantastic. I bought their cd, and a shirt. About a week later, Moke played at The Shelter, again, in Detroit. I brought 4 people with me and that made a crowd of 10. These guys were all the way from the UK, had excellent music and only 10 people at the gig. They still put on an amazing show. Music is a tough industry. I was in a band. Played local clubs for a pittance. Some packed, some empty. You have to love it. Break a leg.
That reminds me of when I went to see Hanne Kolstø play in Munich in 2015. Even for a relatively small venue, about two dozen people dotted about the room wasn't a lot and felt like a bit of a bummer. It appears she's been concentrating on her native Norway since. I think I found the concert you were referring to, Black Crowes with Moke in State Theater on 02/19/1999 (there's even a setlist available). It appears Moke released a second album in 2001 and disbanded in 2002.
Coming from a punk background, the best (and most cost effective) way of promoting a show is to partner up with a popular local band to open for you. Then when they are touring, you can return the favor and open for them. It ends up being win-win because both bands get introduced to each other’s fans. It also usually works out well for finding places to stay. These days there is less “crashing on the floor” and more “my buddy has an AirBnB.”
Touring can be brutal. I remember reading about one of The Tragically Hip's early shows. Played in Seattle I believe. Something like 6 or 7 people showed up. Gord Downie invited them up to the front of the stage and it turned into a party. It's those interactions that made them legends. RIP Gord. Admire that you treat your staff and friends with class and dignity.
Hey Mary, my name is Ralf Falk I`m a musician since I was getting 14. I´m from Germany and I am 72 years now. I just started my TH-cam channel about 5 weeks ago. Having given you this informations, I now like to try giving some information you`d just reqested: 1- I never toured the way you intend to do, I allways fixed some gigs and traveled there without thinking too much about a route or the like. 2- most of the time I did solo gigs, so I was not responsible for others and that helped a lot. 3- I`m not "only" a musician but I make my own guitars, amps, pa and a lot of the other stuff needed by myself. 4- the genre I am in is the Blues. I have had my share of other things like Jazz and Folk too. But it allways seems to be a small niche in the music game. I sometimes was a side man or sat in with bands . But, to be honest, the experiences I learned the most from besides my time of studying music in music schools, were the occasions where I could meet and play with quite a few of my music heroes. This was way back in the 1960ies. And in this time it was really easy to meet people especially musicians. Everything then was sort of more human: you just went to a concert, asking if you might be welcome to take part and you definitly would get an answer. That`s how I did it and mostly it went well. I talk about people here like "Big Joe Williams" and " Champion Jack Duree" to name just two wonderfull musicians. Just Blues guys! I now learned that today one has to have millions of "klicks", just to know who to ask- sorry, but it seems to be a lot more complikated nowadays.Until the days determined by the pandemic, everything went good for me getting gigs and spending my other time by giving guitar lessons and making gear. I think the situation is quite similar to yours because beside your musical work you are doing that TH-cam thing here too. Anyway, I have no real advice for you, but the things that I have just mentioned my be helpfull in one way or another and your videos here are definitly giving me some things to think of. Thank you for that. Good luck on your tour and lotta fun to you...
My band played together for nearly 15 years. We played to packed bars, and we also played to the sound guy and bar staff, many times, at all points of our journey. While we loved making music, we never took the leap of trying to do it professionally. In that time we self produced 5 albums, all studio quality, and we are very proud of what we did on our own. As I get older, I still love to see live music, even though I don't play live anymore. And to me, THAT is the key to success. Don't try to bring the fans to you. Go to where the fans are. Play clubs, regardless of size where people go to here music. Not YOUR music. Not a genre of music. Just music. Where people are open to the experience of sharing an evening with an artist. Your fanbase will grown from that. Something in your voice, or a melody will stick with them, and they will remember, they will follow, and ultimately, they will want to see you and share that experience with you again. I wish you all the best on this tour, and should you ever come to the US, please make a stop in Portland, Maine. Cheers.
I remember telling the 8 people in the bar to grab their tables and stick them in front of the stage so they could have a “private” show. It was a hoot and we all had a great time. It was certainly better than playing to an empty dance floor.
After the UK tour, an idea for the US tour: unplugged, cut the band (cost), mainly accoustic living room performances in the homes of online followers… Limited seats, highly exclusive, you need an invite, 3 weeks, 15 performances in different cities
I did this for another favorite local guitarist and vocalist. Hosted 15 near and dear friends for a potluck and living room concert. It was an amazing evening thouroughly enjoyed by all. Naturally, the artist was well compensated for her performance. Mary, if you read this and are down, I'd love to host you in south Denver, Colorado someday enabling me to continue my living room concert series and supporting up and coming artists. Please reach out!
A folk musician I was talking to recently wasn't telling me that him and his musical partner had quite a strong advantage in this regard, in that when they went on tour it was just the two of them in a van. No need to hire anyone else, and would just stay in a Travelodge or similar each night - they'd get a reasonable crowd at each folk club they played at, and while they wouldn't make a huge profit from doing this there was also not much chance of making a loss.
I spent most of my 20s in a small Wyoming town where if a bar had a live band, even if you've never heard of them, they were standing room only! Small towns are also cheaper on food and hotel costs. I bet if you made a run of small towns in the Western U.S, you would have a great turn out.
Hi Mary! Greetings from Chicago. Someone posted below about doing a pay-per-view online show, and I like that idea! I also LOVE the passion in you as you pursue your dreams!! I will always watch you!
How do you promote a show when your fanbase is so geographically dispersed? I guess that’s the problem with being a mostly online musician. That’s a tough call. As an arts council in rural Canada, we pay artists at your level around $3k to $5k to come to our town. We get that money back mostly from sponsorship. Ticket sales aren’t always guaranteed (as you know all too well). We should get a cut of merch sales, but try to waive that when we can. Mostly we lose a little money per event but hopefully make it back through a single gig with a bigger name that we can tempt for a lower price. It’s the best we can do to both bring music to town and support the musicians too.
Just got home from your Southampton gig. Had an amazing time. Much too shy to say hello in person but it was awesome to see you in person and hear your incredible voice in the room. Can't wait for the next one. ❤
Hi Mary. You are a good inspiration to alot of people and I am sure you will do well with your tour. The Glasgow fans will welcome you and look forward to your gig. Good luck and I hope we all get a chance to say hi.
I REALLY REALLY wish I could come to one of you shows Mary, but my reality is that I'm a sole full time carer for my wife, and it's just impossible to find the time, ANY time! I bought your albums, and downloads, every one of them, and I think you're a superb artist and roll model for independant artists. I hope your tour is a fabulous success and you don't loose too much money trying to put yourself out there and make all your fans happy, that would be a crying shame? You deserve all the success and happiness all your skill and artistry should bring, so please, enjoy this tour as much as you possibly can, make it a fierce celebration of your wonderful talent, music, and personality. Take care Mary, lots of love and luck, Chris. 👍❤️
Having now been touring the UK and Ireland for the last couple of years, my experience has shown that old school methods still get people through the door. Radio and print might not have the popularity they once did, but it’s worked for us, particularly for Scotland after a BBC segment we did. You usually don’t need to hire an expensive PR for radio or print and the little effort it takes can really pay off. Best of luck to you, I hope you have a great time.
I am just a fan from INDIA, following you & love to listen your songs particularly your voice along with nice guitar play, just praying may God grant you all the success & joy, BEST WISHES FOR THE TOUR.
My wife and I will be visiting the UK for three weeks from Korea in September. I checked the dates and was happy to see you're in Bush Hall on the 27th. We'll be in a hotel that's within walking distance. Booked, of course.
I tried the solo thing - it did cost so much that I couldn't keep it up - I got a single playlisted on 40 radio stations (I think you'd like it actually) - spent 4,000 CAD on the recording and another 3,000 on promotion. Then the band - 50$ per rehearsal, 100$ per gig - just 3 other musicians but it adds up - one gig costs 500$ just to get the musicians ready - forget other promotional costs - and these were just local gigs - no per diem or anything and every one had their own transportation. Thank you for making this video :)
Firstly, I must apologise as I will not be able to see you on this tour. The nearest show to me is a 4hr drive and it's a Monday so it's not likely to happen. But I want to ask about festival gigs. There are a lot of small-to-medium festivals across the summer in the UK that I would imagine would be a guaranteed audience - whether these are Weekend-in-a-Field or Series-of-Standalone-Concerts, you'd be an excellent candidate for these.
I am stateside and when I booked my upcoming Europe trip I checked to see if any of your performances lined up with my itenerary. Sadly, nothing worked out this time around. I do travel to see favorite artists and am looking forward to seeing you live in the UK one day!
Glad that you liked Why Am I Doing This? (A Film About Touring). I was wondering why people were watching it again! I'm happy to see that it has reached so many people literally around the world. When I put it up on youtube I thought "maybe 3000 views..." but I was totally wrong about that! My band, The Bismarck, did two tours in the UK - 2012 and 2014. I even met my wife in Glasgow on the 2012 outing. I hope your tour goes well!
Here in Canada, a lot of rising artists participate in Summer/Fall festivals. Mostly outside but a few inside. That helps greatly to be known by non-followers and can give a good feel for roadshows. I love your work and inspiration to play. You can count on me whenever you will play in Canadian Maritimes ❤
Me and my wife (you might day she was dragged along ... but she really enjoyed it as well) saw you at the Portland Arms in Cambridge. I was the slightly awestruck guy that mumbled about Gary Moore. For me your gig was the best I have been to since I last saw Rush in 2013. Why? Articulating my Gary Moore point now - you and your bank brought your album to life - that is a real achievement in my eyes. After being a Rush megafan for 40+ years almost all of their albums were a slow burn for me until I saw them performed live. In your case SSH wasn't a slow burn for me - I have been playing it non-stop since it arrived on Spotify. I was delighted to go a bit crazy at your merch table (I am going to have to buy a turntable now to play the vinyl). I appreciate you taking the risk of touring and if work had not been so crazy for me I would come along to a couple more shows to sing along. Thanks for a great evening. Simon Gee.
Back in the day, even with an Indie label deal, a band I was in always managed to break even from gigs outside of town. We did a lot of London dates (supports) but we got paid. We could hire a van & driver, fuel, maybe even buy food, but we didn't didn't stay over anywhere (except when recording which was paid for). Even at our basic level we had good contacts and a decent London based promoter (he worked for Phil McIntyre at the time). Touring always, always cost money and the reality was, you couldn't do it without some sort of investor, whether that be a label or management. I remember doing a support for Joe Strummer out of town, but even as the guest support going on before the official tour support, we got a fee! We had enough to hire a coach and sell seats to people who wanted to go to the gig. Even the label as a proper 'Indie' label would pay for stuff to help us tour. But we are talking about a different time. No internet. No downloads and people buying singles and albums on vinyl and the new CD format. We even had a higher royalty rate for CD sales! You can't give CDs away today! Kids will only buy awful vinyl format - but at least it's a sale. If you can cash in on the vinyl illusion - go for it! The band I'm currently in now will probably press our next album in vinyl for the 'novelty' sales. Maybe being signed to a proper label with respect/kudos opened doors and raised a level of expectation. Almost, gave bands a perceived status. Back then there were two states of existence only; signed or unsigned. Being signed meant a real financial commitment - even if it was only a £20k to get you going. We did our first album in about 15 days in one of the few studios in central London which still had a live room! It was an official rate of £1000 a day, but the label got their bands in it half price because they had a share in it. I could ramble on about it all, but in summary, the music business that was, no longer exists, thanks to digital music sharing. But that's the way it is. Why would a label invest in an artist if it can't get the money back by sales on physical media? So sadly, we're on our own. It was actually a realistic dream back in the 80s to become a hugely successful band with big record sales. The business model existed for that to happen. Even if you did end up owing your management and label. The successful ones back in the day who actually did have a shelf life which enabled them to pay back their debts either invested their money in other markets (property ownership for example) or spent it. The ones who were famous and spent it now do unnoticed day jobs. The the guys who invested in other markets have either retired comfortably or can still afford to tour as 'heritage' artists. Those with hits still being played can get some income from PRS if they're on the songwriting. Maybe we've returned to being travelling minstrels trying to entertain in the rich courts of the Kings and Queens. Youngsters today I fear, will burn themselves out because they can never afford to get off the hamster wheel of continuous playing to earn. If they want a 'normal' life outside of music then they will have to do a 'normal' job of some sort - or live out the rest of their lives on the road without having a family or settling down. All I can say is, best of luck to you Mary...but don't give too much of yourself to the skeletal corpse of the 'music business' we have today. It's unforgiving and not worth giving the best years of your life to. When it becomes a chore and a pursuit causing anxiety, your art will suffer. Above all, strive to have *fun* playing your songs. Always try to reconnect to that younger person who first discovered how much joy it was performing in front of people - whether huge audiences or a handful in a small room. Savour the moments. I do gigs these days and love playing more than when I was a pro. The boot of the car goes down at the end of the night and I go home, having satisfied the 15 year old boy who dreamed of being a Rock star drummer. He goes back in box ready to make another appearance at another time. Just don't burn yourself out now and lose the love to do it in the future. Keep music an open-ended experience. It's a life journey and true success is the ability to keep doing it without it destroying your love of doing it.
Encuentro tus videos muy interesantes e ilustrativos porque nos muestran ese lado de la industria musical que la mayoría no conocemos. Saludos desde Montevideo, Uruguay
We live in the states. Our “tours” are generally playing shows from East to west across our region. We can play a few hours east of where we live and crash on sofas or camp (lots of camping) on a weekend, then play our home town and somewhere a few hours west of our home town (sleeping in our own beds). We’ll round it out be traveling to play west a few hours and crashing on a sofa or maybe the venue has a deal with a hotel. That’s about 5 dates in two weekends. Not a glamorous “tour” but we can cover a 5 hour radius without being at a loss.
The way I find out about gigs is through Song Kick and Spotify gig recommendations. Along with following my local venues and favourite artists through socials and mailing lists.
Thanks to this video, I'll have the pleasure of going to see you in Bristol. I like your music, your way of communicating, and not to mention how attractive you are. Best of luck on this tour.
Hi Mary, love your music and your channel. I guess... since you have a big audience from all over the world, a good idea would be to record one live show and sell the recording online (pay-per-view or something like that). Only people in the UK can come to see you live, but people from everywhere can buy the recording of one of your shows. Just my two cents.
I play out pretty consistently. One could make the case that you can do it all via social media, but that's an ever changing current. With live shows, I know there will at least be a handful of people present, whether they're there for live music or not. During my shows, I stress (but not overstress) signing up for my newsletter, or even hosting a house concert! I've found that house concerts are a fantastic way to connect with audiences and make meaningful connections.
Hi Mary, I have played many gigs in New York City music venues, performing original bands for audiences mostly unfamiliar with our songs. Here are some suggestions from my own experience about organizing your set. 1) Plan the number of songs based on set duration, and try it in rehearsal including some time allotted for stage banter, back-stories, tuning, and audience reactions. 2) Have a few extra songs ready … in case the performance is going more quickly, and also a couple prepared as encore. 3) Know in advance which song(s) towards the end of the set to drop if you are running over time. 4) Consider and try out the flow of the songs … start with some excitement, and pace the set so you are building energy throughout the course of the set. 5) Slower songs around the middle of the set, and never put two slow songs back-to-back. 6) Seriously consider including a couple cover songs … play your own version of them, but keep them recognizable. It gives the audience a reference point. Usually put one about third song in the set, and the other very near the end of the set. 7) If there are any guitar swaps, or tuning changes … make sure they do not dampen the energy … keep the stage banter going so the audience stays engaged. 8) If something is not flowing after a couple gigs, change it for the next show. 9) Always carry backup cables, strings, picks, tuner, DI, and any pedal that is critical. 10) Enjoy performing because the vibe on stage will inspire the audience. Best wishes on your tour and your music, Philip Reeves Guitarist/songwriter
Create flyers we can download and print or share online and out in local media! I would have loved to help with that if I had lived closer to any of the venues. I'm glad you asked for our help. It shouldn't hurt your pride at all :)
The best way to promote a show it’s when your songs are in the charts, radio, music platforms, eta, and popular, also good to have few albums in the pocket before touring, another big help it’s to do a collaboration, invite someone who’s known to a certain degree to be a apart of the show, and of course huge social media boost, promoting the show.
I wish I could come see you live. Being in Canada makes the logisitics a bit hard. I wish you the best, and I'm sure the tour will be amazing. Love you Mary!
Thank you for making this video Mary. It's interesting you've pointed to this problem as I was starting to worry that I was one of the only touring musicians noticing this (or more likely talking about it). I've toured a lot over the past 20 years (or used to till it all started to get too expensive). I mostly operate in the classical world and my diagnosis of some of the key issues underpinning the problems you've mentioned are as follows: 1) I think a big part of the issues is that since the lockdowns, most UK venues have exclusively started operating as "hire the hall" businesses, whereas in the past "ticket split" arrangements were also often available. Don't get me wrong , I've been a promoter and a venue owner in the past so I fully understand why venues like the low risks associated with "hire the hall" arrangements. However, I do think venues need to reflect on the damage this new "our way or the highway" mentality is having. Yes it will solve the short term issues many venues face relating to financial stability, but collectively the medium to long term consequence for smaller artists is that unless one is independently wealthy and in a position to put £20,000 -£30,000 on the table and roll the dice, touring just isn't an option any more in the same way it was just a few years ago. This doesn't boad well. 2) What audiences are willing to come out to see seems to have dramatically changed since the lockdowns. It's striking to me that over the past few years, even if one is offering real quality + you have a big mailing list / online following, this doesn't nessesry translate into ticket sales in the same way it once did. In short, unless you are touring with a project that is offering something truly exceptional as a live experience (which is very expensive to put together and thus can't be done as the norm) or you happen to have a legacy artist involved in some way, people just aren't willing to give up an evening. I suppose what I'm trying to highlight here is that just having a great album out or being a superb live performer just doesn't seem to cut it any more. Most people now seem to take it for granted that you have to offer them something that requires so much effort to produce and set up that any financial benefit you might gain from it is offset by the 8-12 months of 18 hour work days that you'd have to put in to make it happen. I'm not sure what the solution to this is other than acknowledging the following: 3) I suspect (based on many conversations with concert attendees) that part of the audience apathy mentioned in point 2 relates to many people simply not realising how the modern music industry works. In short, many I speak with think we are still in the 1990s and that most touring artists have some kind of huge company behind them paying the bills. In short, many simply don't seem to realise that if a show doesn't sell well, it's the artist that ends up picking up the bill (not the venue or a 3rd party company...). With this in mind, I think we have a responsibility as artists to have these conversations with the public to let people know how it actually works in the modern world. With this in mind, respect to you for doing this Mary! 4) I think a big part of the issues also relates to the wider economy. Most notably the stagnation of wages over the past 30 years in most Western countries. In terms of why this is relevant to touring: though the costs of touring has dramatically increased for artists since the early 2000s, the fact that most people's wages haven't changed that much since then means that the general perception of how much a concert ticket "should" cost (I'm specifically referring to smaller artists here not mega stars) hasn't changed that much since when I first started out the early 2000's. The result of this is that ticket prices have largely had to remain the same as they were 20 years ago but once you adjust for inflation and factor in the increased costs of putting a show on, this means that the artist is making significantly less than they were 20 years ago even if they sell out medium sized venues. I could mention further points but those listed above I think are the most important In short, I agree with many aspects of your diagnosis but at this stage I (like yourself Mary) can't see a clear solution to the multiple uses that are at the root of this. Hoping that things are go well with the last few months of tour promotion and thank you again for a great video. Hoping to see you in Leeds by the way 👍
I went to university in England, but that was many years ago. I still have friends there, mostly in Manchester where I lived for a few years, and unfortunately you are not playing Manchester, but both Leeds and Liverpool are not too far. I have forwarded your tour schedule all everyone I know, so I hope they will all come see you. I look forward to your US tour myself 😃
I'm a subscriber and my interest is about 30% in hearing your music. You playing and singing are great, but I find I watch more for your commentary as its amazing to see evolution in progress. Stuff like that new guitar you got is very entertaining. I'd love to see you play in person so hopefully will someday.
When I saw the Tennessee Three(Johnny Cash's band), they sold their own merch before after between sets(probably made their own t-shirts) I bought my shirt from legend drummer WS Holland, well into his 70's. After Johnny passed away, they needed to set themselves for retirement. They played mid scale hotel clubs that likely comped hotel rooms and meals.
Mary, you live in a great country for music. Ed Sheeran goes to schools in towns where he has a gig, to spread the word and promote music. Mark Knoffler has a foundation for kids with health issues. He released a song for them and his town's stadium plays it now at the beginning of each football game! Go to wine (maybe not), beers, and spirits for sponsorships. In your 4 months, go play your songs in public places with high traffic like malls, or big stores. Bars in the town you'll visit might welcome a few songs from you start the buzz. These guys talk to many people all day! And let the good do the rest. Good things happen to people who believe in what they do, like you do. Stress is part of being an entrepreneur. Learn to live with it, and manage it. Not easy, but not impossible. You'll be fine. Cheers from Chicago!
don't go to London... go to one of the other gigs... Liverpool or Glasgow for example... You'll get much better value for money and the other locations are just as interesting... if not more so!!! London is by far the least imaginitive place to visit in the UK for a foreign tourist... and has by far the biggest catchment area for people buying tickets - partly due to better public transport...
Mary I saw you perform at the NAMM show last January. It was beautiful music and your set fit the occasion though I wondered what it was like for you playing and singing that early in the morning ( the breakfast show). I'm a singer songwriter. I have an album out that made the FAI Folk Charts, meaning I am getting international radio play. But I have nothing like the online following you have. I decided to try to make mini tours by traveling to a radio station playing my music if they would book me to play live. It does grow my following but it's not making me any money. But it supports my album and like you said you want people to hear something you are proud of creating. I just figured people don't have to spend any effort or money to hear me on the radio. But I just travel with my partner to places we like to experience as tourists anyway. I don't mind spending money on vacation. So basically I am creating working vacations where I play.
Hi Mary I’m an old musician 65 I have always played live and in spite of having a number seven song in 1986, in Canada. I never went on the road. I just remained a gigging musician my whole life. You going on the road even for eight days is a spectacular achievement with your own music. Do it do it do it? I love every moment of it, I’m still even considering doing it myself. Your comments are encouraging. Your channel is encouraging. Yes! Even at 65 years old.
Very excited for you and this tour. Wish I could join you at one of these amazing venues. Totally get the stress over the costs. Your fans will reward you with ticket sales I’m sure of it.
Hi Mary I'm a retired 76 year old musician who has been following you for years. Always played locally in Michigan. I've also followed two musicians from there early years, you may have heard of them , Samantha Fish and Lindsey Sterling. Different in style but may be able to help. Good luck John Robertson
Regular show-attender but not musician here, how I here about shows is [1] venue flyers (my local venues post their schedules in bars and coffee shops), [2] word of mouth primarily from musicians, [3] musician's emil lists. I realize that [2] & [3] require a whole lot of that online audience-building first.
Hi! I've seen lately several artists on tour that play an "impromptu" (not really), acoustic set on the street. You can share fliers, get email addresses, etc, but the most important is the exposition and attention you get. It can be yourself only with your guitar or a full acoustic band. Good luck!
I wish I could help! Ticket scamster is horrid here in the US. I've always been a fan of smaller venues. Oakenfold and the Decemberists were my favorite. I usually notice when TH-cam has the pop up of live performances near you. I still think I should have paid the scalpers for when Elton was in town a bit ago because I'll never get a chance to see him live again.
Whoo hoo I'm one of the 4.5%ers! So sad I can't make it to the UK this year but I'll recommend it to my daughter in London. Best of luck and keep it all up :)
And when can we see you in Florida ? I will certainly come to enjoy your performance !!! I would even turn down a gig in order to attend your concert 😊
🎸 *MY TOUR DATES*
bit.ly/MarySpenderTour
@MarySpender Greetings again from Marine City Michigan USA I feel extremely exactly what you are talking about. "D"
How does a Musician end up with $1M after touring? Start with $2M.
Facebook groups and posters. Plus the City website.
You're a younger artist with an older audience. You're going to have to promote your shows locally for each venue. It's tricky, but if possible do some Guerrilla Marketing by showing up at these venues for other artists in the next couple of months. About 2 hours before each show announce on Instagram, FB, YT short, etc. "i'm going to see this artist here tonight...see you there..." This will generate excitement around you and the venue and the local artists who will, in turn, promote you. Use free social media to cross-promote this new network of artists and venues. Additionally, local news are always looking for segments to fill airtime...especially in the AM. You can promote your shows to each TV station and offer to do a song on air. This will definitely hit your market demographic.
@@shiftintosunshineTotally agree.
Since I don’t live in the UK is this my support.
Thank you and have a great time touring Mary.
Thank you!
@@MarySpender Thats nice
What about a pay-per-veiw live stream of some shows. I live in the US and can't go in person.but would plunk down some money to see a show.
This is a great idea. Mary should heed your advice, i would pay to see her too.
This is a great idea, use a good quality camera (iPhone) pipe in the audio and sell it to the audience. Low upfront cost and possibly a great way to recover some costs. I agree it should be available for replay to allow for time zones. Could simply be a TH-cam members only stream?? Keep it simple.
Yeah, I do this even when an event is in my city. Less crowds and hassle of getting to and from the venue.
@@itslikethesamebutdifferent8020 "heed," is a fine verb that is underused. Thank you.
Funnything is, I keep trying to get my band to do this. It's seemingly impossible, yet, the audio from rehearsals that have been posted, emailed, etc. have had bizarrely loving responses. So, you're more correct with a known youtube um rocker than you may know.
Consider this small donation me being to one of your UK shows in spirit! I would love to see your live performance when you get back to Chicago! 💕
Thank you so much!
Can’t come see you (in the US) and honestly your music is not in my wheelhouse, but I like your channel, so here is my virtual ticket purchase. Music is best live, so thank you.
Thank you so much!
I'm worthless to you as far as help or suggestions, especially living in the USA, but I'm rooting for you! I hope it works out well for you and turns out to be all you hope for.
I run a small venue in the United States in the suburbs of Atlanta, and I sometimes work as an FOH engineer at other venues. I suggest reaching out and making customized videos and photographs for each venue. They don't have to be fancy, but they should include something specific for each town. For us, that means 10 to 20 extra tickets per concert. Also, send a CD to each venue, especially if they have non-music acts. We use upcoming performers as house music in the lobby before the plays and dance recitals we have. Toi! Toi! Toi!
Great ideas!
Yes, great, some kind of special “bootleg” live album or two including venue videos?
Good idea thank you!
I saw a UK band named Moke 20 years ago (maybe more). They opened for The Black Crowes at The State Theater in Detroit. Never heard of Moke but they were fantastic. I bought their cd, and a shirt. About a week later, Moke played at The Shelter, again, in Detroit. I brought 4 people with me and that made a crowd of 10. These guys were all the way from the UK, had excellent music and only 10 people at the gig. They still put on an amazing show. Music is a tough industry. I was in a band. Played local clubs for a pittance. Some packed, some empty. You have to love it. Break a leg.
That reminds me of when I went to see Hanne Kolstø play in Munich in 2015. Even for a relatively small venue, about two dozen people dotted about the room wasn't a lot and felt like a bit of a bummer. It appears she's been concentrating on her native Norway since.
I think I found the concert you were referring to, Black Crowes with Moke in State Theater on 02/19/1999 (there's even a setlist available). It appears Moke released a second album in 2001 and disbanded in 2002.
Like others, being in Oz, I can't attend... but your insights are so valuable. Good luck on the tour... & I can't wait to find out how it all went...❤
Thanks so much!
Since I can't be there, support from the US. I hope it goes well and most importantly that you enjoy it! BTW...LOVE the necklace.
Thank you so much!!
Coming from a punk background, the best (and most cost effective) way of promoting a show is to partner up with a popular local band to open for you. Then when they are touring, you can return the favor and open for them. It ends up being win-win because both bands get introduced to each other’s fans. It also usually works out well for finding places to stay. These days there is less “crashing on the floor” and more “my buddy has an AirBnB.”
Small venue design is off the charts in Britain. Every one of them looked like a place I'd want to see live music in regularly.
seconded
Touring can be brutal. I remember reading about one of The Tragically Hip's early shows. Played in Seattle I believe. Something like 6 or 7 people showed up. Gord Downie invited them up to the front of the stage and it turned into a party. It's those interactions that made them legends. RIP Gord. Admire that you treat your staff and friends with class and dignity.
oh man, I miss Gord so much...
Hey Mary, my name is Ralf Falk I`m a musician since I was getting 14. I´m from Germany and I am 72 years now. I just started my TH-cam channel about 5 weeks ago. Having given you this informations, I now like to try giving some information you`d just reqested: 1- I never toured the way you intend to do, I allways fixed some gigs and traveled there without thinking too much about a route or the like. 2- most of the time I did solo gigs, so I was not responsible for others and that helped a lot. 3- I`m not "only" a musician but I make my own guitars, amps, pa and a lot of the other stuff needed by myself. 4- the genre I am in is the Blues.
I have had my share of other things like Jazz and Folk too. But it allways seems to be a small niche in the music game. I sometimes was a side man or sat in with bands . But, to be honest, the experiences I learned the most from besides my time of studying music in music schools, were the occasions where I could meet and play with quite a few of my music heroes. This was way back in the 1960ies. And in this time it was really easy to meet people especially musicians. Everything then was sort of more human: you just went to a concert, asking if you might be welcome to take part and you definitly would get an answer. That`s how I did it and mostly it went well. I talk about people here like "Big Joe Williams" and " Champion Jack Duree" to name just two wonderfull musicians. Just Blues guys!
I now learned that today one has to have millions of "klicks", just to know who to ask- sorry, but it seems to be a lot more complikated nowadays.Until the days determined by the pandemic, everything went good for me getting gigs and spending my other time by giving guitar lessons and making gear. I think the situation is quite similar to yours because beside your musical work you are doing that TH-cam thing here too. Anyway, I have no real advice for you, but the things that I have just mentioned my be helpfull in one way or another and your videos here are definitly giving me some things to think of. Thank you for that.
Good luck on your tour and lotta fun to you...
My band played together for nearly 15 years. We played to packed bars, and we also played to the sound guy and bar staff, many times, at all points of our journey. While we loved making music, we never took the leap of trying to do it professionally. In that time we self produced 5 albums, all studio quality, and we are very proud of what we did on our own.
As I get older, I still love to see live music, even though I don't play live anymore. And to me, THAT is the key to success. Don't try to bring the fans to you. Go to where the fans are. Play clubs, regardless of size where people go to here music. Not YOUR music. Not a genre of music. Just music. Where people are open to the experience of sharing an evening with an artist.
Your fanbase will grown from that. Something in your voice, or a melody will stick with them, and they will remember, they will follow, and ultimately, they will want to see you and share that experience with you again.
I wish you all the best on this tour, and should you ever come to the US, please make a stop in Portland, Maine.
Cheers.
I remember telling the 8 people in the bar to grab their tables and stick them in front of the stage so they could have a “private” show. It was a hoot and we all had a great time. It was certainly better than playing to an empty dance floor.
Danke!
Thank you!
After the UK tour, an idea for the US tour: unplugged, cut the band (cost), mainly accoustic living room performances in the homes of online followers… Limited seats, highly exclusive, you need an invite, 3 weeks, 15 performances in different cities
I did this for another favorite local guitarist and vocalist. Hosted 15 near and dear friends for a potluck and living room concert. It was an amazing evening thouroughly enjoyed by all. Naturally, the artist was well compensated for her performance.
Mary, if you read this and are down, I'd love to host you in south Denver, Colorado someday enabling me to continue my living room concert series and supporting up and coming artists. Please reach out!
A folk musician I was talking to recently wasn't telling me that him and his musical partner had quite a strong advantage in this regard, in that when they went on tour it was just the two of them in a van. No need to hire anyone else, and would just stay in a Travelodge or similar each night - they'd get a reasonable crowd at each folk club they played at, and while they wouldn't make a huge profit from doing this there was also not much chance of making a loss.
Just bought a ticket, see you in London!
Coming from Slovakia to the London show as a surprise to my wife. Just booked flights, hotel and concert tickets. We can't wait!!!!
Thank you!
@SeanAllocca you're awesome mate !!
Dont let your wife see this video then ;)
I spent most of my 20s in a small Wyoming town where if a bar had a live band, even if you've never heard of them, they were standing room only! Small towns are also cheaper on food and hotel costs. I bet if you made a run of small towns in the Western U.S, you would have a great turn out.
Small towns are great for playing to a live audience
Hi Mary! Greetings from Chicago. Someone posted below about doing a pay-per-view online show, and I like that idea! I also LOVE the passion in you as you pursue your dreams!! I will always watch you!
I'll be seing you in London .... All the very best of luck with the tour!
Mary, have you considered sleeping in the van?
SLEEP IN THE VAN
How do you promote a show when your fanbase is so geographically dispersed? I guess that’s the problem with being a mostly online musician. That’s a tough call. As an arts council in rural Canada, we pay artists at your level around $3k to $5k to come to our town. We get that money back mostly from sponsorship. Ticket sales aren’t always guaranteed (as you know all too well). We should get a cut of merch sales, but try to waive that when we can. Mostly we lose a little money per event but hopefully make it back through a single gig with a bigger name that we can tempt for a lower price. It’s the best we can do to both bring music to town and support the musicians too.
Thank you for what you do in supporting artists and the arts!
Canadians might truly be the nicest folks!
Thanks!
Thank you so much!
Just got home from your Southampton gig. Had an amazing time. Much too shy to say hello in person but it was awesome to see you in person and hear your incredible voice in the room. Can't wait for the next one. ❤
Thank you so much!
I wish I lived in the UK, just so I could support you in person.
Hi Mary. You are a good inspiration to alot of people and I am sure you will do well with your tour. The Glasgow fans will welcome you and look forward to your gig. Good luck and I hope we all get a chance to say hi.
I REALLY REALLY wish I could come to one of you shows Mary, but my reality is that I'm a sole full time carer for my wife, and it's just impossible to find the time, ANY time! I bought your albums, and downloads, every one of them, and I think you're a superb artist and roll model for independant artists. I hope your tour is a fabulous success and you don't loose too much money trying to put yourself out there and make all your fans happy, that would be a crying shame? You deserve all the success and happiness all your skill and artistry should bring, so please, enjoy this tour as much as you possibly can, make it a fierce celebration of your wonderful talent, music, and personality.
Take care Mary, lots of love and luck, Chris. 👍❤️
Having now been touring the UK and Ireland for the last couple of years, my experience has shown that old school methods still get people through the door. Radio and print might not have the popularity they once did, but it’s worked for us, particularly for Scotland after a BBC segment we did. You usually don’t need to hire an expensive PR for radio or print and the little effort it takes can really pay off.
Best of luck to you, I hope you have a great time.
Looking forward to the show in Bristol.
Good luck with the tour. Would love to see you live!
Thank you so much!
Good luck and God speed to you on your ventures Mary. I've been watching you for years and have loved watching you grow.
Tickets purchased for the Bristol gig and very much looking forward to it. Never been to this venue - looks fantastic.
I am just a fan from INDIA, following you & love to listen your songs particularly your voice along with nice guitar play, just praying may God grant you all the success & joy, BEST WISHES FOR THE TOUR.
My wife and I will be visiting the UK for three weeks from Korea in September. I checked the dates and was happy to see you're in Bush Hall on the 27th. We'll be in a hotel that's within walking distance. Booked, of course.
Wish I could be there in the UK for your shows. You’ve talent, grit and determination. I’m sure you’ll make your tour a success,
I tried the solo thing - it did cost so much that I couldn't keep it up - I got a single playlisted on 40 radio stations (I think you'd like it actually) - spent 4,000 CAD on the recording and another 3,000 on promotion. Then the band - 50$ per rehearsal, 100$ per gig - just 3 other musicians but it adds up - one gig costs 500$ just to get the musicians ready - forget other promotional costs - and these were just local gigs - no per diem or anything and every one had their own transportation. Thank you for making this video :)
I have booked tickets for the Leeds gig. Looking forward to it .
Planning on going to the Glasgow show Mary. With at least 4 friends! Saw you on the first one!
Firstly, I must apologise as I will not be able to see you on this tour. The nearest show to me is a 4hr drive and it's a Monday so it's not likely to happen.
But I want to ask about festival gigs. There are a lot of small-to-medium festivals across the summer in the UK that I would imagine would be a guaranteed audience - whether these are Weekend-in-a-Field or Series-of-Standalone-Concerts, you'd be an excellent candidate for these.
I booked tickets to see you in Birmingham back in December. So looking forward to it.
I am stateside and when I booked my upcoming Europe trip I checked to see if any of your performances lined up with my itenerary. Sadly, nothing worked out this time around. I do travel to see favorite artists and am looking forward to seeing you live in the UK one day!
Will try to make it to the Cambridge one. I can cycle there from St. Ives alongside the Busway. Good luck with the tour.
All the best with the tour
Glad that you liked Why Am I Doing This? (A Film About Touring). I was wondering why people were watching it again! I'm happy to see that it has reached so many people literally around the world. When I put it up on youtube I thought "maybe 3000 views..." but I was totally wrong about that! My band, The Bismarck, did two tours in the UK - 2012 and 2014. I even met my wife in Glasgow on the 2012 outing. I hope your tour goes well!
It's wonderful! Really enjoyed it. Thank you Eric.
@@MarySpender And in case you were wondering - Yes, you pronounced my last name correctly.
Good luck from Canada with tour this fall! I hope its monumental success!
Looking forward to seeing you in Cambridge! 👍
Here in Canada, a lot of rising artists participate in Summer/Fall festivals. Mostly outside but a few inside. That helps greatly to be known by non-followers and can give a good feel for roadshows.
I love your work and inspiration to play. You can count on me whenever you will play in Canadian Maritimes ❤
Good luck with the tour.
Thank you so much!
Already booked for the London venue, looking forward to it!
Me and my wife (you might day she was dragged along ... but she really enjoyed it as well) saw you at the Portland Arms in Cambridge. I was the slightly awestruck guy that mumbled about Gary Moore. For me your gig was the best I have been to since I last saw Rush in 2013. Why? Articulating my Gary Moore point now - you and your bank brought your album to life - that is a real achievement in my eyes. After being a Rush megafan for 40+ years almost all of their albums were a slow burn for me until I saw them performed live. In your case SSH wasn't a slow burn for me - I have been playing it non-stop since it arrived on Spotify. I was delighted to go a bit crazy at your merch table (I am going to have to buy a turntable now to play the vinyl). I appreciate you taking the risk of touring and if work had not been so crazy for me I would come along to a couple more shows to sing along. Thanks for a great evening. Simon Gee.
Best wishes for a great tour!
looking forward to seeing you in Leeds in the amazing Brudenell! c u there
Back in the day, even with an Indie label deal, a band I was in always managed to break even from gigs outside of town. We did a lot of London dates (supports) but we got paid. We could hire a van & driver, fuel, maybe even buy food, but we didn't didn't stay over anywhere (except when recording which was paid for). Even at our basic level we had good contacts and a decent London based promoter (he worked for Phil McIntyre at the time).
Touring always, always cost money and the reality was, you couldn't do it without some sort of investor, whether that be a label or management. I remember doing a support for Joe Strummer out of town, but even as the guest support going on before the official tour support, we got a fee! We had enough to hire a coach and sell seats to people who wanted to go to the gig. Even the label as a proper 'Indie' label would pay for stuff to help us tour.
But we are talking about a different time. No internet. No downloads and people buying singles and albums on vinyl and the new CD format. We even had a higher royalty rate for CD sales! You can't give CDs away today! Kids will only buy awful vinyl format - but at least it's a sale. If you can cash in on the vinyl illusion - go for it! The band I'm currently in now will probably press our next album in vinyl for the 'novelty' sales.
Maybe being signed to a proper label with respect/kudos opened doors and raised a level of expectation. Almost, gave bands a perceived status. Back then there were two states of existence only; signed or unsigned. Being signed meant a real financial commitment - even if it was only a £20k to get you going. We did our first album in about 15 days in one of the few studios in central London which still had a live room! It was an official rate of £1000 a day, but the label got their bands in it half price because they had a share in it.
I could ramble on about it all, but in summary, the music business that was, no longer exists, thanks to digital music sharing. But that's the way it is. Why would a label invest in an artist if it can't get the money back by sales on physical media? So sadly, we're on our own. It was actually a realistic dream back in the 80s to become a hugely successful band with big record sales. The business model existed for that to happen. Even if you did end up owing your management and label. The successful ones back in the day who actually did have a shelf life which enabled them to pay back their debts either invested their money in other markets (property ownership for example) or spent it. The ones who were famous and spent it now do unnoticed day jobs. The the guys who invested in other markets have either retired comfortably or can still afford to tour as 'heritage' artists. Those with hits still being played can get some income from PRS if they're on the songwriting.
Maybe we've returned to being travelling minstrels trying to entertain in the rich courts of the Kings and Queens. Youngsters today I fear, will burn themselves out because they can never afford to get off the hamster wheel of continuous playing to earn. If they want a 'normal' life outside of music then they will have to do a 'normal' job of some sort - or live out the rest of their lives on the road without having a family or settling down.
All I can say is, best of luck to you Mary...but don't give too much of yourself to the skeletal corpse of the 'music business' we have today. It's unforgiving and not worth giving the best years of your life to. When it becomes a chore and a pursuit causing anxiety, your art will suffer.
Above all, strive to have *fun* playing your songs. Always try to reconnect to that younger person who first discovered how much joy it was performing in front of people - whether huge audiences or a handful in a small room. Savour the moments. I do gigs these days and love playing more than when I was a pro. The boot of the car goes down at the end of the night and I go home, having satisfied the 15 year old boy who dreamed of being a Rock star drummer. He goes back in box ready to make another appearance at another time. Just don't burn yourself out now and lose the love to do it in the future. Keep music an open-ended experience. It's a life journey and true success is the ability to keep doing it without it destroying your love of doing it.
Encuentro tus videos muy interesantes e ilustrativos porque nos muestran ese lado de la industria musical que la mayoría no conocemos.
Saludos desde Montevideo, Uruguay
Wow! Thanks for sharing all this information about the trials and tribulations of doing a tour. It seems a little daunting.
Looking forward to seeing you in Glasgow, got my ticket when it was announced.
We live in the states. Our “tours” are generally playing shows from East to west across our region. We can play a few hours east of where we live and crash on sofas or camp (lots of camping) on a weekend, then play our home town and somewhere a few hours west of our home town (sleeping in our own beds). We’ll round it out be traveling to play west a few hours and crashing on a sofa or maybe the venue has a deal with a hotel. That’s about 5 dates in two weekends. Not a glamorous “tour” but we can cover a 5 hour radius without being at a loss.
The way I find out about gigs is through Song Kick and Spotify gig recommendations. Along with following my local venues and favourite artists through socials and mailing lists.
Thanks to this video, I'll have the pleasure of going to see you in Bristol. I like your music, your way of communicating, and not to mention how attractive you are. Best of luck on this tour.
Hi Mary, love your music and your channel. I guess... since you have a big audience from all over the world, a good idea would be to record one live show and sell the recording online (pay-per-view or something like that). Only people in the UK can come to see you live, but people from everywhere can buy the recording of one of your shows. Just my two cents.
I play out pretty consistently. One could make the case that you can do it all via social media, but that's an ever changing current. With live shows, I know there will at least be a handful of people present, whether they're there for live music or not. During my shows, I stress (but not overstress) signing up for my newsletter, or even hosting a house concert! I've found that house concerts are a fantastic way to connect with audiences and make meaningful connections.
Best wishes. I can’t really get to the UK from across the pond, but I want nothing but the best for your tour.
Hi Mary,
I have played many gigs in New York City music venues, performing original bands for audiences mostly unfamiliar with our songs. Here are some suggestions from my own experience about organizing your set.
1) Plan the number of songs based on set duration, and try it in rehearsal including some time allotted for stage banter, back-stories, tuning, and audience reactions.
2) Have a few extra songs ready … in case the performance is going more quickly, and also a couple prepared as encore.
3) Know in advance which song(s) towards the end of the set to drop if you are running over time.
4) Consider and try out the flow of the songs … start with some excitement, and pace the set so you are building energy throughout the course of the set.
5) Slower songs around the middle of the set, and never put two slow songs back-to-back.
6) Seriously consider including a couple cover songs … play your own version of them, but keep them recognizable. It gives the audience a reference point. Usually put one about third song in the set, and the other very near the end of the set.
7) If there are any guitar swaps, or tuning changes … make sure they do not dampen the energy … keep the stage banter going so the audience stays engaged.
8) If something is not flowing after a couple gigs, change it for the next show.
9) Always carry backup cables, strings, picks, tuner, DI, and any pedal that is critical.
10) Enjoy performing because the vibe on stage will inspire the audience.
Best wishes on your tour and your music,
Philip Reeves
Guitarist/songwriter
Create flyers we can download and print or share online and out in local media! I would have loved to help with that if I had lived closer to any of the venues.
I'm glad you asked for our help. It shouldn't hurt your pride at all :)
WIsh you all the best on your tour.
The best way to promote a show it’s when your songs are in the charts, radio, music platforms, eta, and popular, also good to have few albums in the pocket before touring, another big help it’s to do a collaboration, invite someone who’s known to a certain degree to be a apart of the show, and of course huge social media boost, promoting the show.
I wish I could come see you live. Being in Canada makes the logisitics a bit hard. I wish you the best, and I'm sure the tour will be amazing. Love you Mary!
Thank you for making this video Mary.
It's interesting you've pointed to this problem as I was starting to worry that I was one of the only touring musicians noticing this (or more likely talking about it).
I've toured a lot over the past 20 years (or used to till it all started to get too expensive). I mostly operate in the classical world and my diagnosis of some of the key issues underpinning the problems you've mentioned are as follows:
1) I think a big part of the issues is that since the lockdowns, most UK venues have exclusively started operating as "hire the hall" businesses, whereas in the past "ticket split" arrangements were also often available. Don't get me wrong , I've been a promoter and a venue owner in the past so I fully understand why venues like the low risks associated with "hire the hall" arrangements. However, I do think venues need to reflect on the damage this new "our way or the highway" mentality is having. Yes it will solve the short term issues many venues face relating to financial stability, but collectively the medium to long term consequence for smaller artists is that unless one is independently wealthy and in a position to put £20,000 -£30,000 on the table and roll the dice, touring just isn't an option any more in the same way it was just a few years ago. This doesn't boad well.
2) What audiences are willing to come out to see seems to have dramatically changed since the lockdowns. It's striking to me that over the past few years, even if one is offering real quality + you have a big mailing list / online following, this doesn't nessesry translate into ticket sales in the same way it once did. In short, unless you are touring with a project that is offering something truly exceptional as a live experience (which is very expensive to put together and thus can't be done as the norm) or you happen to have a legacy artist involved in some way, people just aren't willing to give up an evening. I suppose what I'm trying to highlight here is that just having a great album out or being a superb live performer just doesn't seem to cut it any more. Most people now seem to take it for granted that you have to offer them something that requires so much effort to produce and set up that any financial benefit you might gain from it is offset by the 8-12 months of 18 hour work days that you'd have to put in to make it happen. I'm not sure what the solution to this is other than acknowledging the following:
3) I suspect (based on many conversations with concert attendees) that part of the audience apathy mentioned in point 2 relates to many people simply not realising how the modern music industry works. In short, many I speak with think we are still in the 1990s and that most touring artists have some kind of huge company behind them paying the bills. In short, many simply don't seem to realise that if a show doesn't sell well, it's the artist that ends up picking up the bill (not the venue or a 3rd party company...). With this in mind, I think we have a responsibility as artists to have these conversations with the public to let people know how it actually works in the modern world. With this in mind, respect to you for doing this Mary!
4) I think a big part of the issues also relates to the wider economy. Most notably the stagnation of wages over the past 30 years in most Western countries. In terms of why this is relevant to touring: though the costs of touring has dramatically increased for artists since the early 2000s, the fact that most people's wages haven't changed that much since then means that the general perception of how much a concert ticket "should" cost (I'm specifically referring to smaller artists here not mega stars) hasn't changed that much since when I first started out the early 2000's. The result of this is that ticket prices have largely had to remain the same as they were 20 years ago but once you adjust for inflation and factor in the increased costs of putting a show on, this means that the artist is making significantly less than they were 20 years ago even if they sell out medium sized venues.
I could mention further points but those listed above I think are the most important
In short, I agree with many aspects of your diagnosis but at this stage I (like yourself Mary) can't see a clear solution to the multiple uses that are at the root of this.
Hoping that things are go well with the last few months of tour promotion and thank you again for a great video. Hoping to see you in Leeds by the way 👍
I went to university in England, but that was many years ago. I still have friends there, mostly in Manchester where I lived for a few years, and unfortunately you are not playing Manchester, but both Leeds and Liverpool are not too far. I have forwarded your tour schedule all everyone I know, so I hope they will all come see you. I look forward to your US tour myself 😃
I'm a subscriber and my interest is about 30% in hearing your music. You playing and singing are great, but I find I watch more for your commentary as its amazing to see evolution in progress. Stuff like that new guitar you got is very entertaining. I'd love to see you play in person so hopefully will someday.
When I saw the Tennessee Three(Johnny Cash's band), they sold their own merch before after between sets(probably made their own t-shirts) I bought my shirt from legend drummer WS Holland, well into his 70's. After Johnny passed away, they needed to set themselves for retirement. They played mid scale hotel clubs that likely comped hotel rooms and meals.
Mary, you live in a great country for music. Ed Sheeran goes to schools in towns where he has a gig, to spread the word and promote music. Mark Knoffler has a foundation for kids with health issues. He released a song for them and his town's stadium plays it now at the beginning of each football game!
Go to wine (maybe not), beers, and spirits for sponsorships.
In your 4 months, go play your songs in public places with high traffic like malls, or big stores. Bars in the town you'll visit might welcome a few songs from you start the buzz. These guys talk to many people all day! And let the good do the rest. Good things happen to people who believe in what they do, like you do.
Stress is part of being an entrepreneur. Learn to live with it, and manage it. Not easy, but not impossible. You'll be fine.
Cheers from Chicago!
Nice work with the shout out for "Why Am I Doing This?" the ONLY allowable film about touring. :)
Very Interesting Mary ! Good luck for your tour !!!
I'm across the pond, but I get your message. Good Luck, Mary!
Good luck with the tour, Mary. Come to the Foxlowe venue in Leek next time.
Thank you once again for your excellent content and delivery Mary.
If you come to Boston MA, USA I'll see you there!
Last time I was in UK 6 years ago!
You just given me perfect reason to visit London again!!!!
Greetings from Poland! 😀
don't go to London... go to one of the other gigs... Liverpool or Glasgow for example... You'll get much better value for money and the other locations are just as interesting... if not more so!!! London is by far the least imaginitive place to visit in the UK for a foreign tourist... and has by far the biggest catchment area for people buying tickets - partly due to better public transport...
Mary I saw you perform at the NAMM show last January. It was beautiful music and your set fit the occasion though I wondered what it was like for you playing and singing that early in the morning ( the breakfast show). I'm a singer songwriter. I have an album out that made the FAI Folk Charts, meaning I am getting international radio play. But I have nothing like the online following you have. I decided to try to make mini tours by traveling to a radio station playing my music if they would book me to play live. It does grow my following but it's not making me any money. But it supports my album and like you said you want people to hear something you are proud of creating. I just figured people don't have to spend any effort or money to hear me on the radio. But I just travel with my partner to places we like to experience as tourists anyway. I don't mind spending money on vacation. So basically I am creating working vacations where I play.
Hi Mary
I’m an old musician 65
I have always played live and in spite of having a number seven song in 1986, in Canada. I never went on the road. I just remained a gigging musician my whole life. You going on the road even for eight days is a spectacular achievement with your own music. Do it do it do it? I love every moment of it, I’m still even considering doing it myself. Your comments are encouraging. Your channel is encouraging. Yes! Even at 65 years old.
Very excited for you and this tour. Wish I could join you at one of these amazing venues. Totally get the stress over the costs. Your fans will reward you with ticket sales I’m sure of it.
Hi Mary I'm a retired 76 year old musician who has been following you for years. Always played locally in Michigan. I've also followed two musicians from there early years, you may have heard of them , Samantha Fish and Lindsey Sterling. Different in style but may be able to help. Good luck John Robertson
Hi 👋 from Wisconsin 🍻 78 and we Packerlanders follow Mary too!
Oh I like the sound of those song excerpts. I'll have to order a copy of that album.
So excited to see you in Glasgow! And get my hands on some merch.
I’ll do all I can word of mouth :)
Best of luck with preparations!
I wish all the best of success in your upcoming tour and I'll definitely be sharing your music. ❤❤
Good luck with your tour.
Regular show-attender but not musician here, how I here about shows is [1] venue flyers (my local venues post their schedules in bars and coffee shops), [2] word of mouth primarily from musicians, [3] musician's emil lists. I realize that [2] & [3] require a whole lot of that online audience-building first.
Hi! I've seen lately several artists on tour that play an "impromptu" (not really), acoustic set on the street. You can share fliers, get email addresses, etc, but the most important is the exposition and attention you get. It can be yourself only with your guitar or a full acoustic band. Good luck!
Greetings from Oslo; thanks for sharing, Mary! If you ever come to Norway, I´d love to see your show
I don’t have anything particularly meaningful to say and I sadly live too far to catch a show but I really appreciate your honesty!
I wish I could help! Ticket scamster is horrid here in the US. I've always been a fan of smaller venues. Oakenfold and the Decemberists were my favorite. I usually notice when TH-cam has the pop up of live performances near you. I still think I should have paid the scalpers for when Elton was in town a bit ago because I'll never get a chance to see him live again.
Whoo hoo I'm one of the 4.5%ers! So sad I can't make it to the UK this year but I'll recommend it to my daughter in London. Best of luck and keep it all up :)
I would love for you to come to Ireland. Dublin, Cork, Galway, Derry, and Belfast would all welcome you with open arms. :)
And when can we see you in Florida ?
I will certainly come to enjoy your performance !!! I would even turn down a gig in order to attend your concert 😊
Best of luck to you, Mary! May you be blessed with success to continue touring and make your way to us here in the USA!
I wish you all possible success, Mary.
If you come to Denver I'd go. Very good options for venues and good night life. The Soiled Dove is a small intimate venue. Hope to catch you on tour